New blood in an CARRIE
Chloë Grace Moretz, Julianne Moore, Gabriella Wilde, Judy Greer, Portia Doubleday. Director: Kimberly Peirce (
THERE was much huffing and puffing of the “how dare they?” variety when news first broke of a Carrie remake. Director Brian De Palma’s 1976 adaptation of the Stephen King novel was both a gamechanger and a gut- wrencher, culminating in one of the most ickily iconic finales in horror movie history.
While the new Carrie will never be regarded in the same way, it hits all the hard shocks it should.
The film opens on an ominous note. A woman is lying on a bed, howling in pain. There is something so unhinged about her cries that it takes some time to realise she is actually giving birth.
It is a creepy scene, all the more so because it takes this lady a seeming eternity to decide whether she will keep or kill the baby.
Cut to 15 years later, and the same woman ( played by the ever- in- the- moment Julianne Moore) is crazed as ever, prone to endless religious ramblings directed at her only child.
Carrie ( Chloë Grace Moretz) hears much of this chilling chatter from inside her “prayer closet” – a locked cubicle to which she is invariably banished by her mother for sins too trivial to mention.
Dowdy, downcast and always on edge, Carrie stands out at school like a sore thumb. There is no relief from the hell of home life to be found here. In fact, things are worse for this poor girl.
Not only is the traditional onset of womanhood freaking Carrie out. With puberty comes a rapidly developing set of telekinetic powers she is unable to understand, let alone control.
All threads of this unsettling tale are due to be tied up in a famously frightening final act at the high school prom. Just as Carrie is on the verge of being accepted by her peers, one of them moves to make sure this never happens.
Unlike before, however, Carrie is ready to strike back at anyone who dares harm her. Save for a few minor tweaks, director Kimberly Peirce follows De Palma’s bloody blueprint for this disturbing climax to the letter.
As originally designed, it is a sequence that seriously messes with your head and refuses to About Time Adoration After May Captain Phillips Carrie Counselor Gravity Mr Pip On My Way One Chance Rush The Hunger Games: Catching Fire Thor: The Dark World straighten everything up afterwards.
The film owes much to the damaged dynamic at work between Moore and Moretz. Both are always on the brink of either exploding or imploding.
Whatever happens and in spite of many overpowering urges to look away you won’t be able to take your eyes off them.
Now showing Village Cinemas ( Glenorchy)
A LIKEABLE enough French road movie that zigzags from the oddball to the predictable as it pleases. Perhaps a little time spent moving in the one direction might have been the right idea. Director Emmanuelle Bercot’s scattershot approach does not always make the best of a wonderful performance from veteran French star Catherine Deneuve. She plays a frazzled restaurateur who reacts to her rejection from a younger lover by jumping in her car and leaving everything behind.
Now showing State Cinema